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Real Friends

The Home Inside My Head

As one of the pioneers of the new wave of pop-punk-emo, Chicagoland quintet Real Friends have rapidly andorganically grown a global following of devotees. Produced by Steve Evetts (The Wonder Years, Every Time I Die)their second full-length sees the band taking their sound to the next level.

What's Real

Dear Listener / Internet Surfer / Intrigued Music Consumer-

Thank for you for taking the time to read about our new record, What's Real. We have been working on this album for the better part of two years. Or maybe I have been working on this album since I was 14. That was when I first heard the bands that made me want to pick up the guitar and learn to play. When I became consumed over the angst, the freedom, the recklessness of rock and roll, the escape it created and allowed, and the feeling of unity with anyone who was discovering and finding the same.

I started writing this album as soon as we got home from touring behind our debut record Out In The Light. All of a sudden, I was sitting still for the first time in years, and I dove into my early musical influences to find that what I once thought were alternative anthems of recklessness, of angst, of societal alienation, were also perfectly constructed songs. It wasn't pop. But it became popular for a reason. And as a songwriter I began to see that music in a new light.

I approached this album from that place. From a place of seeing that songs can sound big, feel big, and still be incredibly personal. Still be brutally honest. Still leave everything on the table. And while current alternative radio is pumping out songs about the "best day of my life" and "wanting to be like the cool kids", I wanted to write songs about heartbreak, about finding clarity, about feeling stuck in your hometown. And I wrote it with the hope that people connect with it in a visceral way. In an emotional way. The way I am connecting to it. A connection I feel is not as expected these days.

This record was recorded over a 15 month period while I was living in San Francisco and taking road trips down to record with friend and Grouplove producer/drummer Ryan Rabin. The first song we recorded together was "Got To My Head". He got where I was coming from and became my collaborator throughout the majority of the process. We pushed this record to the extremes, trying to fit as many hooks at times, capturing throat wrenching vocal takes at others. I was writing while recording. A lot of the writing takes on past tragic relationships I have since moved on from. "I Feel Everything" is a song about the addiction of abusive and extreme relationships, "Over It" is a song about finally getting out of it, and "What's Real" is about the constant struggle to weed out the impersonal and temporary relationships and yearning for something more. The songs came from desperate times. They came from a place where I would rather be in any situation than the one I was in. Some of them were written while in it, some of them are reflection.

I recorded a handful of the songs with another producer Carlos De La Garza. Among those are "Rebel Yell", a song about longing for the drive to care about the state of the world like I once did so intensely, but has faded with the distractions of adulthood, and "Mom And Dad's," a song about the realities of having to move back in with your parents after you thought you were gone for good, and finding everything both completely changed and exactly the same.

This record could not have been possible without my band. I met them all while living in San Francisco. It's a new band from the last record. Andrew Wales plays Drums. Brian DaMert plays Guitar. Greg Sellin plays Bass. And Sara DaMert plays Keys. They have helped me take these songs from my headphones to the stage and have realized them in the greatest way possible. they do them every justice I could have asked. I am so grateful to have them.

When we finished the record I felt like we had made a sonic place. It felt like my bedroom in high school. We accomplished my goal in providing a world for someone who needs a real alternative. An escape. I don't care if that sounds cheesy. I am not worried about it. Come to our shows. Participate in the energy. We will leave it all on the table. We expect the audience to as well. There is something really rewarding in doing so. It's what I dreamt about when I was 14 and started playing guitar. It's what I still dream about today. It's What's Real.

My Friend Fish

Joseph Campbell describes a shaman as person, male or female, who has an overwhelming psychological experience that turns him totally inward. It's a kind of schizophrenic crack-up. The whole unconscious opens up, and the shaman falls into it. We'll never know the whole truth about what happened when (Foxyen drummer and former Disney child actor) Shaun Fleming moved from the West Coast suburbs to New York, but whatever it was fractured his psyche, opened it up, and gave birth to Diane Coffee.

In 2013, after joining the band Foxygen, Shaun Fleming left the green and golden fields of his hometown of Agoura Hills, CA to become the third roommate in a 700 square-foot, pre-war, closet-free Manhattan apartment. He was welcomed to The Big Apple by a nasty flu virus that drained the last bit of California sunshine out of the skinny, Macaulay Culken-looking 26-year-old's body. As he recovered, cabin fever supplanted the flu, and his relentless creative drive took over. Low on funds and bored out of his gourd, he spent the next two weeks alone in his bedroom writing and recording what would become the debut Diane Coffee LP My Friend Fish.

Despite his limited means (using a pseudo drum kit consisting of a snare, one broken cymbal, and a metal pot, recording parts with an iPhone's voice memo app, playing a detuned guitar rather than a real bass, etc) My Friend Fish sounds fully realized and remarkably polished. From a Donovan-esque song about Sriracha, to experiments with distortion and garage-rock, to songs like All The Young Girls in which he gleefully channels Tom Jones with sex-bomb confidence, on My Friend Fish Fleming's spell-casting powers are in full effect, inspiring panty-tossing glee. After you finish listening, you'll wonder as you stretch out in bed and enjoy a cigarette, Who is Fish?

1. Hymn2. Never Lonely3. Tale Of A Dead Dog4. WWWoman Is A Sin5. New Years6. All The Young Girls7. When It's Known8. That Stupid Girl Who Runs A Lot9. Eat Your Love (With Sriracha)10. Green

Mighty Real: Greatest Dance Hits

Twenty-five years after his untimely death at the age of 41, the iconic legacy of Sylvester, the "Queen of Disco," will be resurrected with "Mighty Real: Greatest Dance Hits," due out June 25 (international release dates vary) on Fantasy Records.

This collection will celebrate the life and music of the artist who once danced his way into the hearts and minds of the disco and LGBT communities.

A quarter of a century after his passing, Sylvester will make a fabulous debut back into a prolific time in the LGBT community just the way he would have liked it - through dance music. This 11-track release, available on CD and on double pink vinyl, will feature a number of original album tracks and 12" mixes that are rare or no longer available on CD, as well as the brand new remix of the iconic "You Make Me Feel (Mighty Real)" by Grammy-nominated remixer and DJ, Ralphi Rosario (Rihanna, Mariah Carey, Beyonce, Madonna).

As a dear friend of Harvey Milk and an icon to the LGBT community, Sylvester has long held a special place in music and socio-political history. Sylvester was not only one of the first disco stars to stand openly gay, but bravely crossed beyond the boundaries of race, gender and sexuality to become a proud figure of the gay liberation movement.

"Sylvester James was an unlikely star: an androgynous, cross-dressing, openly gay, African-American, falsetto-singing, unapologetically flaming man-diva influenced primarily by church women, black blues singers, drag queens, hippies and homos," liner notes writer Joshua Gamson said. "Like very few before him, and quite a few after, Sylvester rode his marginality right into the mainstream."

A Los Angeles local, Sylvester found his home in the vibrant subcultural scenes of San Francisco in the late 1960s. As the community around him became devastated with AIDS, Sylvester's music took on a sort of weary determination, becoming a call to live, to keep dancing and to keep loving.

Sylvester died on Dec. 16, 1988 and bequeathed royalties from the sale of his music to benefit two charitable organizations in the San Francisco Bay Area: the AIDS Emergency Fund and Project Open Hand.

"Decades later, even as strides have been made in the fight against the disease that has taken so many lives, Sylvester's music lives on, a call to be fabulous against the odds," Gamson said.

"Mighty Real: Greatest Dance Hits" was produced by Tom Cartwright and Chris Clough on Fantasy Records with liner notes written by Gamson, author of "The Fabulous Sylvester: The Legend, The Music, The Seventies in San Francisco."

The Double Pink Vinyl edition features all 11 tracks on two 12" pink vinyl LPs.

Goths

The theme this time around is goth, a subject closer to my heart perhaps than that of any Mountain Goats album previous. And while John writes the songs, as he always has, it feels more than ever like he's speaking for all of us in the band, erstwhile goths (raises hand) or otherwise, for these are songs that approach an identity most often associated with youth from a perspective that is inescapably adult. Anyone old enough to have had the experience of finding oneself at sea in a cultural landscape that's suddenly indecipherable will empathize with Pat Travers showing up to a Bauhaus show looking to jam, for example.

But underneath the outward humor, there is evident throughout a real tenderness toward, and solidarity with, our former fellow travelers-the friends whose bands never made it out of Fender's Ballroom, the Gene Loves Jezebels of the world-the ones whose gothic paths were overtaken by the realities of life, or of its opposite. It's something we talk about a lot, how fortunate and grateful we are to share this work, a career that's become something more rewarding and fulfilling than I think any of us could have imagined. We all know how easily it could've gone the other way, and indeed for a long time did.

-Peter Hughes

February 2017

Charlotte, NC

LP 11. Rain in Soho2. Andrew Eldritch Is Moving Back to Leeds3. The Grey King and the Silver Flame Attunement4. We Do It Different on the West Coast5. Unicorn Tolerance6. Stench of the Unburied

Shock Tactics

Of all the bands in the New Wave of British Heavy Metal movement, Samson takes the woulda/coulda/shoulda been big stars prize.

The band's talent and theatricality were undeniable; guitarist and singer Paul Samson had replaced Bernie TormÉ (of Gillan fame) in the band Scrapyard before founding Samson, which soon enlisted the lead vocal talents of a certain Bruce Bruce a.k.a. Bruce Dickinson, soon to be of Iron Maiden. Throw in bassist Chris Aylmer and drummer Thunderstick, who performed inside a metal cage wearing a gimp style mask, and this was an outfit seemingly destined for big things.

But, constant promotional gaffes (e.g. booking them on tour with an ill-matched Robin Trower) led the band to terminate their contract with management, who promptly brought an injunction keeping them off the road. Then, their label(Gem) went bankrupt; as Dickinson says, they made every mistake in the business.

In the midst of all the turmoil, though, the band made its third and finest record, Shock Tactics, which was ably produced by AC/DC producer Tony Platt; but, as Iron Maiden was recording next door at Battery Studios in London, the two bands became friendly, and Dickinson left Samson for Iron Maiden just as Samson received big offers from A&M and RCA, which were instantly withdrawn upon his departure. So, classic music industry saga classic British Heavy Metal!

Real Gone Music is proud to present Shock Tactics inCrimson Loincloth vinyl limited to 700 copies and including the original album insert-first-ever vinyl reissue!

One Step Closer

Known for their ability of churning out hit songs, top charting albums and sell-out shows across the globe, The Doobie Brothers continue to be a force in the music business garnering them success now for over four decades. They were also in the forefront of making excellent sounding recordings, utilizing their masterful skills in the studios, and their amazing catalog of albums have all stood the test of time.

1980 was a huge year for the Grammy Award winning band as they took their Bay Area soul and rock driven sounds to a further dimension thanks to the hits on their ninth smash LP in a row with One Step Closer.

Produced by Ted Templeman, this multi-platinum event would go on to become one of the most successful albums by The Doobie Brothers as the LP gave them a huge top five single with the Michael McDonald tour de force Real Love.

The hard rockin' and soulful masterwork yielded more hits like the fine vocal work of the sorely missed Cornelius Bumpus (Moby Grape/Steely Dan) on Thank You Love and the hit single One Step Closer. Patrick Simmons as usual wails on lead guitar throughout with latest guitarist John McFee (Elvis Costello/Steve Miller) on tunes like Keep This Train-A-Rollin' and the rocker No Stoppin' Us Now.

Friday Music is proud once again to offer another installment in our popular Doobie Brothers 180 Gram Audiophile Vinyl Series with their masterpiece One Step Closer. Impeccably mastered by Joe Reagoso (Doobie Brothers/Michael McDonald) from the original Warner Bros. tapes at Friday Music Studios and at Capitol Mastering, the top five Lp sounds incredibly rockin' and soulful as you remember it.

As an added anniversary bonus, we are presenting the audiophile limited edition album in a first time gatefold cover, with artwork elements not seen in years, enhancing your Doobie Brothers listening experience even further.

(I Can't Get No) Stevie Jackson

Despite having been responsible for some of Belle and Sebastian's best known songs (Jonathan David, Chickfactor, Seymour Stein and I'm Not Living In the Real World), it has taken Stevie Jackson sixteen years for his first collection of solo recordings.

Recorded over the last three years in Glasgow and Vancouver, (I Can't Get No) features a range of friends and musical collaborators including members of Belle and Sebastian, The Pastels, Trembling Bells and the songwriting triumvirate, The Company (Jackson, Roy Moller and Gary Thom), and the New Pornographers' rhythm section of Kurt Dahle and John Collins.

Deluxe edition LP is pressed on heavyweight vinyl and is housed in a gatefold sleeve with download code. Released on Belle & Sebastian's Banchory record label.

1. Pure of Heart2. Just, Just So To The Point3. Try Me4. Richie Now5. Dead Man's Fall6. Bird's Eye View7. Man of God8. Kurosawa9. Where Do All The Good Girls Go?10. Telephone Song11. Press Send12. Feel The Morning

Man Of The World

ALO is not a band that dwells in the past. Their latest adventure, Man of the World finds the CA collective flexing their considerable creative powers to craft their finest album yet. Recorded almost entirely live, the 11-song collection is the sound of four players who have truly found their groove together. This is ALO at their most natural, their most organic and their most pure.

Man of the World was engineered by the bands steady studio partner Dave Simon-Baker and produced by none other than Jack Johnson, a longtime friend and musical collaborator. The singer/songwriter/producer was a natural fit with ALO. It felt like he joined the band for the album, drummer Dave Brogan admits. He was very hands on. If he thought he could add something to a track, he was willing to go for it. And we were more than happy to let him. For the recording, the quartet packed their bags, said goodbye to their friends and families, and headed off to Johnsons home studio on the North Shore of Oahu, Hawaii.

As they always have, they shared the songwriting and the vocal duties. Though all four members came to the studio with arrangements and parts of songs fleshed out, everything got scrambled as soon as everyone was together. There was a real workshop vibe, guitarist Lebo affirms. Arrangements were being torn apart and put back together in ways nobody could have imagined. The band had traditionally built their songs up track by track, but they abandoned that approach for a rawer, more organic, one. Songs that sprang out of the bands new recording approach span the sonic spectrum in classic ALO fashion.

1. Suspended2. States Of Friction3. Man of the World4. Put Away the Past5. I Wanna Feel It6. Big Appetite7. Gardener's Grave8. Time and Heat9. The Country Electro10. The Champ11. I Love Music

Hubcap Music

Hubcap Music is the sixth studio album by Seasick Steve. About the release, he writes:

Well, I'm still alive.

I made a new record. It's called Hubcap Music. That's cus I play some songs on a guitar made out of 2 hubcaps and a garden hoe, and cus I couldn't think of nothing else.

It's coming out on Third Man Records. Well, I'm happy about that. I think it's kinda funny record companies still called record companies. They don't have much to do with records no more. Well, Jack at Third Man, he still likes records and Hubcap Music gonna be a real record...vinyl like. It was recorded on a tape recorder, on old fashion tape, mixed on tape, the vinyl cut from tape. Ain't no computers on this record at all!

Anyway, Dan is still banging on the drums and still banging the wine. My friends John Paul Jones, Jack White and Luther Dickensen playing too. Never thought I would even write that!!! Now I'm fixing to go out and play all over. That's the best and most fun thing. I Can't believe I get to do this...Can't believe it.

Thanks from

SeaSick Steve

1. Down on the Farm2. Self-Sufficient Man3. Keep On Keepin' On4. Over You5. The Way I Do6. Purple Shadows7. Freedom Road8. Home9. Hope10. Heavy Weight11. Coast is Clear12. Tractor

New Way Home

New Way Home, MiWi's debut album on Team Love, is the result of life taking an unexpected turn. With the help of Monica Frisell, the songs began to take shape in early 2013. As things developed, friends such as Joanna Warren, Curtis Fowlkes, Rob Jost, Mara Kaye, Natalie John, Timothy Allen, Bill Frisell, and Conor Oberst, all enthused at the sound, eagerly jumped in to lend a hand. New Way Homeis a short, immediate, and catchy album, but its real magic lies in its ability to invoke a wide range of sonic diversity while not losing sight of its singular vision. A track like "Ashes To The Wind" invokes legendary bluesman Howlin' Wolf, while "Here I Am" positions itself neatly between singer-songwriters like Ron Sexsmith and Stuart Murdoch. The album's songs range from playfully vengeful ("Everybody's Fuckin' With Me") to sorrowfully serious ("New Moon").

MiWi's voice is frank, his phrasing crisp, his lyrics easy to grasp yet full of twists. The songs document a season in a life, offering empathy to the listener while asking for the same in return.

1. Radio2. A New Way 3. Everybody's Fuckin With Me

4. Here I Am5. Ashes To The Wind 6. Once Took A Day 7. New Moon Night 8. When You're Gone

Little Death Shaker

Stripped of all noise influences and focusing on straight-up songs, Little Death Shaker is a record evocative of late nights and dusty parking lots, long drives and boozy hookups. This is the work of a dude who's spent his youth and young manhood on tour and it comes through in both the music and the lyrics. Where Castanets' lyrics gave us Ray Carver-ian fragments and it's-what-you-leave-out-that-counts minimalism, here we see Raposa back from the battleground with stories to tell.

This is the most lyric-heavy Raposa's been and it's also the most playful and humorous, and you get the feeling some of these songs would be the ones that would go down best near 2am at some weird sports bar dive in southeast Alabama/Iowa/Mississippi. (We can just see some big biker dude/fallen NASCAR star/Gary Busey lookalike sitting back-to-bar, Bud in hand, having a good-natured laugh over the punchline from Some of My Friends or the WTF premise of the Dan Reeder penned You'll Never Surf Again.)

The record begins with fighting spirit. Allegiance comes on with a punch of electric guitar and Raposa singing I woke up feeling/bold as shit. It's his rowdiest and most confident song to date, a real knockabout that'll take you by surprise if you're used to Castanets. Up next the title track verges on Queen (Flash Gordon soundtrack?) and Some of My Friends is a barnburner with the ghosts old Sun Studios players holding court.

Highlights are many. The dark-as-Skoal interstate roller Whippoorwill, the slowly ramping Some Kind of Fool, which rolls easy and pretty with backup vocals from Matthew Houck of Phosphorescent before building to a shitkicking rock 'n' roll peak where we find Raposa delivering some of his best and most racy lyrics, singing the very un-indie-rock, I could spend this good money wherever I care to/taste all the honies that I choose /lay myself down beside anyone's flower/all alive in the morning with the dew. It's a song about libertine freedom and heartbreak ignored and taking the bull by the horns and being, well, kind of a bastard.

More highlights: Castanets collaborator Talia Gordon taking main vocals on You're Not Standing Like You Used To (Kate Wolf); the after-afterhours minor chord jam Stateline, Little Death Shaker's most ruckus track of all, a late-night spent trapped in the stripclub/rig cab/country bar/tour van/your own damn head. At 10 minutes it's a tale of drugs and wayward love, a real red-lit kind of aloneness, backed by a legit live crawl, with high and ghostly organ and distorted vocals crackling like a bad CB connection.

With Meridian, Raposa and Houck bring back the vibe of Some Kind of Fool and take it on a humid trip through the deepest South, gators in the water, snakes in the sand, a stormhead looming over the sun-dappled river. When Raposa sings oh honey here comes the storm you can just FEEL the weather breaking.

One of this record's real charms is you can close your eyes and see these 13 tracks played live; you can see the drummer leaning over his kit with his brushes (and sunglasses on?), the backup singers standing around the mic, beers in hand, eyes closed, swaying side to side, the lights crisscrossing the stage. Meridian is no different. You can see this band. You can see these people playing together, and in a world of records that bands can't duplicate live, it's crazy-refreshing!

The album's closer, Allegiance 2, brings backlongtime Castanets collaborator Bridgit Jacobsen (nÉe Decook) for a hushed and barely-there apology. Oh lord be kind to me/after all these devils I have kissed. As a prayer, a shrug, and an exhausted offering, it's a fitting way to end an album so concerned with sin and vice. It's also a fitting end-introduction to this new band. So meet Raymond Byron and the White Freighters and their record Little Death Shaker. Here's to the new!

Forget The Mantra

Nightlands is the recording project of Philadelphia-based multi-instrumentalist Dave Hartley. The music he creates in his bedroom is itself a bed of delicate, chiming strings and bubbling synths beneath a blanket of choral vocal arrangements. Its dreamy in the literal sense, the seeds for the album were sown when Hartley began archiving musical ideas that occurred in his sleep with a simple bedside tape recorder. As a result his debut album Forget the Mantra is, in essence, a field recording of Hartleys dreams, a travel journal through pop music and a collection of psych-hymns from the first human lunar colony. The songs sound both huge and intimate, breathy and cavernous like massive echoes of a faraway concert. Its the big, shadow music from just across the lake.

The album deals with themes of anxiety, fear and the limits of concentration. Therein, it mines Hartleys personal history as often as it does influences The Beach Boys, The Traveling Wilburys and Hawkwind. Side A pulses with layers of tom tom drums on wide-open standout slow jam 300 Clouds and nimbly-picked acoustic melodies on Suzerain (A Letter to the Judge), like Crosby, Stills & Nash gone comsic-kraut. The songs roll and gallop then stop to breathe, always exhaling with what sounds like a thousand voices. Through its experimental back half, reminiscent of Bowies Low or Kate Bushs The Ninth Wave from Hounds of Love, full of vocal samples from Hartleys real life, the more pop-leaning front end is given greater context, like a close study of a plants blossom before traveling down through its root architecture.

Hartley, who for years has been a prolific sideman in many Philadelphia ensembles (most notably The War on Drugs), laid these songs to tape on a Tascam 388 iover several months, inviting friends along for feedback and ultimately, some additional tracking.

People Changes

Double bassist/singer-songwriter Nat Baldwins forthcoming album People Changes is much like the stark Maine setting which it was created. Of course, his fourth full-length shows welcome markings of his experimental bent from years as the Dirty Projectors bassist and former disciple of free jazz legend Anthony Braxton, but the serene isolation of 17 million acres of New England forestland make this cabin-born set intimate and sincere.

Baldwin first penned the songs in 2007, allowing the arrangements to evolve before the final recording in the spring of 2010. A lean ensemble of talented, time-proven friends were enlisted for the studio, some dating back to his New Hampshire childhood, chosen specifically to create the albums earnest live sound.

Their apt decision to record voice and bass live on most tracks is quickly felt on opener A Little Lost, letting Baldwins softly warbled falsetto hug a heartfelt cover of Arthur Russells sacred love song. Woodwinds flit and pull against contrabass pulses on Weights, then recede to let Baldwins bare performance stir on Real Fakes.

The full cast of Nats touring ensemble handsomely matches the bold arrangements of Lifted, followed by jagged improvisation on What Is There and a tender rendition of Kurt Weismans Let My Spirit Rise to finish. Charged throughout by lyrics crisp and strong, People Changes is a slice through the void of late nights spent among tall pines.

People Changes was recorded by Matt Walsh at Florida Keys Studio in New York City in May/June of 2010, mixed by Scott Solter, and mastered by Paul Gold at Salt Mastering. Guests include Matt Bauder (clarinets), Caley Monahon-Ward (violin), Brett Deschenes (trumpet), Will Glass (drums), Al Mead (guitar) and Jeremy Leclair (alto saxophone). The album follows a split EP with Extra Life (2008, Shatter Your Leaves) on which earlier versions of Weights and Lifted appear, Most Valuable Player (2008), Enter the Winter (2006) and Lights Out EP (2005) on Broken Sparrow Records, and his experimental free jazz debut Solo Contrabass (2003, Peacock Recordings).

South America

Colored Vinyl!

When it came to writing their sophomore album South America, Thieves And Villains decided to sculpt the album as if they were the only four people on earth to hear it. Looking for a new sense of direction, the band mentally escaped to a beautiful hiding place that they named South America. They found that this venture in their collective minds would allow them to be free, which in-turn, helped create music that excited them, and that they would ultimately fall in love with.

However, the record was still being created under the same confines as many bands today; a spastic sinking ship of a country that has never been as stressed out, paranoid, or misled as it is right now, an America that is truly going "south." The result of this is the album title that came to represent the dichotomy of one location being the place you hate and love the most; the place you escape to, yet the place you despise.

Thieves And Villains took the same indie-rock vibe as Vampire Weekend, combined it with the childlike sense of wonder found in an early Daneil Johnston song, and added the quirkiness implemented in the Pinkerton-era of Weezer. With the help of producer Tim Gilles, the band took an old approach and made it new again. In a world of over-produced and over-auto-tuned songs recorded take after take, they set out to bring music as a whole, back to its roots.

"We recorded the entire album to analog tape on Mr. Gilles' vintage tape machines and used all our own gear and live tones. We didn't do takes of anything to death and approached every section with a real 'what you see is what you get' logic. What you're listening to is not the product of hours of tweaking, its the product of a few friends having fun and making music the old fashioned way." Colored vinyl pressing from Victory Records!

All Ears, All Eyes, All The Time

180 Gram, Coke-Bottle Colored Vinyl

First Time On Vinyl, Limited To 500

Stones, Hendrix, and Tom Petty to legendary indie-rockers like Weezer, the Pixies, Dinosaur Jr.. Pavement, Superchunk, and Spoon to even left-of-center rap acts like A Tribe Called Quest, it's a record that ventures far beyond the clich'd constraints of the emo pigeonhole in which Piebald are so often mistakenly placed (note the jaunty piano romp Part Of Your Body Is Made Out Of Rock, the dream-rock sea-shanty All Senses Lost, or the twee, Shins-like powerpop of Giving Cup). Says Travis of Piebald's all-encompassing musical styles, We don't really feel we're an emo band; we're really more just like hippies that use distortion! Most of the time we're put in a category with emo bands, but we don't really hear the real connection. So we don't like that we're called that ' but then again, we don't really like that any band is called that.

Although All Ears was produced by Paul Q. Kolderie (Cave-In, Dinosaur Jr., fireHOSE, Hole, Pixies, Radiohead), Piebald were admittedly still worried about whether they could top their previous landmark effort, We Are The Only Friends We Have. You always want to like your new record more and feel that it's better than your last one, otherwise you wouldn't want to put it out, says Travis. But Paul was really excited about the new songs, and all the people at the studio were excited, and it felt like we were on the right track, even though we didn't know for sure. And in the end, I think we at least did comparably musically. You still get what you need from a Piebald record. It's different, but you still get sufficiently rocked.

1. The Benefits Of Ice Cream2. Present Tense3. Human Taste Test4. The Jealous Guy Blues5. All Senses Interlude6. Haven't Tried It7. Giving Cup8. Par Of Your Body Is Made Out Of Rock9. The Song That Launched A Thousand Ships10. Put Your Slippers On Instead11. Get Old Or Die Young12. New Boston Interlude13. All Senses Lost14. The Six Eighter15. All Sense Is Lost Postitude

Accidental Gentlemen

150 Gram, Gold Colored Vinyl

First Time On Vinyl, Limited To 500

Stones, Hendrix, and Tom Petty to legendary indie-rockers like Weezer, the Pixies, Dinosaur Jr.. Pavement, Superchunk, and Spoon to even left-of-center rap acts like A Tribe Called Quest, it's a record that ventures far beyond the clich'd constraints of the emo pigeonhole in which Piebald are so often mistakenly placed (note the jaunty piano romp Part Of Your Body Is Made Out Of Rock, the dream-rock sea-shanty All Senses Lost, or the twee, Shins-like powerpop of Giving Cup). Says Travis of Piebald's all-encompassing musical styles, We don't really feel we're an emo band; we're really more just like hippies that use distortion! Most of the time we're put in a category with emo bands, but we don't really hear the real connection. So we don't like that we're called that ' but then again, we don't really like that any band is called that.

Although All Ears was produced by Paul Q. Kolderie (Cave-In, Dinosaur Jr., fireHOSE, Hole, Pixies, Radiohead), Piebald were admittedly still worried about whether they could top their previous landmark effort, We Are The Only Friends We Have. You always want to like your new record more and feel that it's better than your last one, otherwise you wouldn't want to put it out, says Travis. But Paul was really excited about the new songs, and all the people at the studio were excited, and it felt like we were on the right track, even though we didn't know for sure. And in the end, I think we at least did comparably musically. You still get what you need from a Piebald record. It's different, but you still get sufficiently rocked.

1. Opener2. A Friend of Mine3. Don't Tell Me Nothing4. There's Always Something Better To Do (The Strutter)5. Strangers6. Oh, The Congestion7. Shark Attack8. On And On9. Getting Mugged and Loving It10. Life on the Farm11. Nature Wins12. Roll On13. We Can Not Read Poetry

The Perks Of Being A Wallflower Original Motion Picture Soundtrack

Music From The Major Motion Picture The Perks of Being a Wallflower.

The movie is based on the novel written by Stephen Chbosky, about 15-year-old Charlie (Logan Lerman), an endearing and naive outsider, coping with first love (Emma Watson), the suicide of his best friend, and his own mental illness while struggling to find a group of people with whom he belongs. The introvert freshman is taken under the wings of two seniors, Sam and Patrick, who welcome him to the real world.

1. Could It Be Another Change - By The Samples2. Come On Eileen - By Dexys Midnight Runners3. Tugboat - By Galaxie 5004. Temptation - By New Order5. Evensong - By The Innocence Mission6. Asleep - By The Smiths7. Low - By Cracker8. Teenage Riot - By Sonic Youth9. Dear God - By XTC10. Pearly-Dewdrops' Drops - By Cocteau Twins11. Charlie's Last Letter - By Michael Brook12. Heroes - By David Bowie

Body Faucet

There is no pretense behind the Athens, GA four-piece Reptar (named after a Rugrats character) and consisting of Graham Ulicny (guitar/vocals), William Kennedy (analog keyboards), Ryan Engelberger (bass) and Andrew McFarland (drums). Still, the ability to amuse and arouse their fans is just as important to them as indulging their musical curiosities. This sonic wanderlust extends from African Music to post-punk to psych-pop and converges joyously in songs such as Blastoff and Rainbounce among others.

Their aesthetic percolates even more vibrantly through their debut LP, Body Faucet, to be released on Vagrant Records. A set of shimmering sing-along anthems produced by Ben Allen (Animal Collective, Deerhunter, Washed Out), Body Faucet is propelled by jerky guitars and persistent beats. The record feels like a big dream with different chapters, says Ryan. Ghost Bike captures the space between witnessing a friend's death and surviving it. In Sebastian (named after a saint who became a gay icon), it's experiencing, then remembering, a sexual awakening with a close friend.

Lyrics and music flow in a liquid form from real places, each song oozing with a different color and substance. We wanted to capture the thoughts we project on our surroundings and the ideas that flow in and out of us each day, says Graham. Indeed, much of the record deals with exploring and interacting with one's surroundings in new, occasionally frustrating, ways. The album builds with songs such as New House, expressing a future of possibilities. A centerpiece of sorts, notes Andrew, it's the most driving song on the record, and it's really empowering live.

Permanent Signal

Permanent Signal: a condition in which a POTS [plain old telephone service] line is off-hook withoutconnection for an extended period of time.*

It's a term that Mauro Remiddi kept coming back to when reflecting on much of the time between last year's release of Strange Weekend, the multi-instrumentalist's debut full-length as Porcelain Raft, and this, its proper follow-up. "In a way, growing up in Italy, then living for 12 years in London, and now two-and-a-half years in New York, made me realize that I have some dear friends that I rarely see," explains Mauro. "I was touring almost non-stop for eight months and I started having these imaginary conversations in my head with people I wanted to communicate with, but for one reason or another it couldn't happen. So this idea of the album title comes with there being a signal that says the line is off."

Mauro began working on Permanent Signal two months after returning from tour, a period of readjustmentin which he was beginning to enjoy normal everyday comforts such as frequenting his favorite coffee spot in his Brooklyn neighborhood and connecting with friends again, even as the thoughts of those unrealized conversations during his recent travels were still very fresh in his mind. Inspired by this surreal moment of transition, where the reality of finally being home was still overshadowed by lingering feelings of detachment, he sold almost all of the instruments that he used for Strange Weekend in order to "start with a new color pallet." It's immediately apparent in Permanent Signal's opener, "Think of the Ocean," where the dense basement-recorded haze of his last full-length has been traded for a spacious melancholy, as cello, piano and drums gently spiral atop a faint pulsing tone that mirrors the album's title. And while layers of synths and electronics still play a role, the new record is far more organic than Porcelain Raft's previous album and EPs, an intentional move according to Mauro; "I wanted to record in the studio just to capture the guitars and drums properly, and to have some real input from musicians I respected and loved to hang with."

Enlisting some support from YUCK's Jonny Rogoff on drums, Antlers bassist Darby Cicci (who also contributed double vocals and trumpet, and engineered the sessions in Antlers' Brooklyn studio), and cellist Gaspar Claus (frequent collaborator with Sufjan Stevens and the National's Bryce Dessner), Porcelain Raft's once gauzy pop has now turned as vivid as a waking dream. During "Minor Pleasure," Mauro finds catharsis when conceding in his otherworldly tenor that "there's nothing hidden in what we see, sometimes you just have to let it end," amidst the processed drone of an organ and a piano that taps into the gospel-dosed psychedeliaof Spiritualized, while the radiant lull of "Night Birds" reaches cosmic bliss, as crystalline guitars and synthesizers echo the song's poignant sense of nostalgia. Elsewhere, tracks like the aforementioned "Think of the Ocean," "Cluster" and the haunting, Lennon-esque "I Lost Connection" deal directly with lives either on hold or in transition -- all universal themes of the human condition which allow the listener to fill in their own personal experiences with a permanent signal.

1. Think Of The Ocean2. Cluster3. Minor Pleasure4. Open Letter5. Night Birds6. It Ain't Over7. I Lost Connection8. Warehouse9. The Way Out10. Five Minutes From Now11. Echo

Midnight Special

Before Uncle Kracker spent six weeks at #1 with When the Sun Goes Down, a duet with good friend Kenny Chesney, country music might've seemed an odd place to find the Detroit-based good-time Kid Rock alumni. But as several summer tours with Chesney, the Top 5 Smile and the enduring recurrent status of Sun prove, Uncle Kracker's deep melodies and sense of what the heartland means has made him a perfect fit in today's post-rural realm of country music.

The first single Nobody's Sad on a Saturday Night, a theme song for a weekend party, from his label debut Midnight Special, has already hit the airwaves and is being embraced by Country radio. With producer Keith Stegall at the helm (Alan Jackson, George Jones and Zac Brown, as well as writing #1 songs for Jackson, George Strait and Dr. Hook), Uncle Kracker took his strong sense of melody and infectious choruses into the studio in Nashville. Writing all 11 songs with some of Nashville's best known writers, including Shane McAnally (Come Over, Somewhere with You, Last Call), Scooter Carusoe (Anything But Mine, Better as a Memory) and Chris Tompkins (Before He Cheats, Blow Away), as well as Detroit rocker JT Harding - Uncle Kracker grounds his music in bands people know, places they've been, moments they've shared and a real sense of America today.

1. You Got That Thang2. I'd Be There3. Four Letter Word4. Blue Skies5. When I Close My Eyes6. In Between Disasters7. Happy8. Nobody's Sad on a Saturday Night9. Nuthin' Changes10. Who We Are11. It Is What It Is (with Sonia Leigh)

Dig

Taking up from where iconic bands like Deep Purple and Bad Company have left off, Heaven & Earth is on a mission to resurrect the sanctity of classic rock in its purest, most accessible form on their third studio album titled Dig. Dig was produced by Dave Jenkins-who's turned the knobs for everyone from Metallica to Tower of Power-and features special guests Howard Leese (Heart, Paul Rodgers), Richie Sambora (Bon Jovi) and David Paich (Toto).

As the band's founder and visionary, Smith says about Dig, "I feel that with the crafting of the songs on this album, the incredible band we've put together, especially with powerhouse vocalist Joe Retta and the unwavering support of Quarto Valley Records' President, Bruce Quarto, we really have a shot at getting Heaven & Earth the attention it deserves. This album is by far, the best thing I have ever done in my life!"

The British-born guitarist spent the 70's bending strings with numerous groups before he distinguished himself by making the acquaintance of Deep Purple's Ritchie Blackmore, who mentored the up-and-coming musician. "I'm probably one of the few people in the world who grew up with a poster of someone on their wall, ended up meeting them, becoming friends with them, and getting mentored by them," Smith notes. At the urging of Blackmore, Smith migrated to Los Angeles where the seeds for Heaven & Earth were planted. The band released two critically acclaimed albums-Heaven & Earth Featuring Stuart Smith (1994) and Windows to the World (2000)-which helped advance Smith's musical vision. Now, with Dig complete, the guitarist says Heaven & Earth is a true band, an energized collective of like-minded musicians who are excited at bringing its unique, celestial brand of rock to audiences all over the world in 2013. "All the pieces are in place," he explains with graceful candor. "We're ready to make this our year."

All the backing tracks on Dig were recorded at Ocean Studios in Burbank, California, and all the overdubs were done at the band's own Wine Cellar Studios in Woodland Hills, California. To further refine the record's sonic reach, Jenkins used a Closed Loop Analog Signal Processor (CLASP), a device that integrates real analog tape recording into digital tools like Pro Tools to create a warm and vintage sound. Both Van Halen and Aerosmith enlisted a CLASP on their most recent albums.

1. Victorious2. No Money, No Love3. I Don't Know What Love Is4. Man & Machine5. House of Blues6. Back in Anger7. Waiting for the End of The World8. Sexual Insanity9. Rock & Roll Does10. A Day Like Today11. Good Times12. Live as One

Island Intervals

That Joel Thibodeau's slender, winsome voice is at once so comforting and so unsettling might be the greatest of his many strengths. Reed-thin but sturdy, youthful but somehow ageless, its deep benevolence is also slightly eerie, and the way he gently walks the line between intense feeling and contemplative remove lets him sing from a timeless place where he evokes the beauty of vanished people and places, sweetness too profound for words, loss too great for tears.

Like Nico's, Jimmy Scott's, or Phil Elverum's, Joel's is a voice that demands its own sonic and lyrical world, and with Island Intervals, his third record as Death Vessel (and second for Sub Pop), we're treated to the sound of him finding a rich and strange new home among new friends in Iceland who probably saw him as a long-lost relative. Joel's an inveterate and intuitive wanderer; when I met him years ago, he'd just spent a few months traveling the United States on Greyhound buses, sometimes sleeping rough, and making a record from found moments.

Island Intervals springs from a more recent journey. For his first album since 2008's acclaimed Nothing Is Precious Enough for Us, Joel traveled to Reykjavík on an invitation from Sigur Rós singer Jónsi and producer Alex Somers, where they spent three months together conjuring an album that's both a song cycle and a window into a mysterious and singular landscape. Island Intervals wraps Joel's voice and furtive guitar in sounds that evoke not so much a band playing as elemental forces of earth and water; Pete Donnelly (The Figgs, NRBQ), Samuli Kosminen (Múm) and Thorvaldur Doddi Thorvaldsson assist Somers in creating a rich and multi-layered world that sounds, at times, like a well-tuned forest sighing and bending in a gale, or the deep cracks and booms of a glacier calving its way to the sea. Jónsi also joins Joel on vocals for the track "Ilsa Drown."

Island Intervals lives in the spaces between running away and letting go, and finds its author embracing a life whose most solid, real moments loom and vanish, like a range of mountains that emerges from a bank of low clouds, and just as suddenly slips away.

Hardly Criminal

Crash's story unfolds with that particularly Southern swagger and with a tale of a Louisiana boy bred on Waffle House breakfasts and monster truck rallies, local Rodeos and the flicker of family bonfires. There was college for a hot minute, there was a move to the Irish Channel, there was the soaking in of all that is New Orleans, wet heat and Sazeracs, the wailing horns of jazz funerals, the teetering handmade floats of Mardi Gras, crawfish and etouffee and howling at the moon. There was work where he could get it, toiling as a PA on the studio sets, Hollywood coming south for the tax credits. It was on these film productions where crash earned his nickname, something to do with a questionable work ethic and repetitive tardiness (he admits you d have to ask one Ms. Rita Wilson for the real deal details). And yet despite his reputation (or perhaps because of it), he was anointed "assistant" to Johnny Knoxville during The!Dukes!of!Hazzard s run. (One can only imagine ) crash later joined the critically adored local act The Deadly Syndrome as lead singer and frontman, bringing his gris gris into the beautiful belly of the L.A. beast. Since then, crash has been barreling ahead, recording prolifically with The Deadly Syndrome, working with famed producer Daniel Lanios, composing a live stage score, acting in a few national commercials, and finally, after Deadly disbanded in 2013, heading out on the road with his pals, Edward Sharpe and The Magnetic Zeros, as percussionist and angelic vocal accompaniment. And somewhere in that heady mix in that combination of the rolling road, of California eucalyptus sway and dark NOLA mysteries, he discovered his true self - the wildaeyed, slyatongued, strutting, winking and wonderful crash of this here solo debut. Produced and engineered by the multitalented Ed Sharpe lead guitarist, Mark Noseworthy, (and featuring friends from the Zeros, Dawes, The Mystic Valley Band and more ) Hardly Criminal is the culmination of all that is strange and sad, hilarious and harmonious, about crash s own true tale. It is story a moving, funny, weird, and stunningly beautiful. You can hear the South, yes, Neville swing and Dr. John juaju, but you can also hear smooth soul, booty funk, and ragged folk, a mix of sounds taken from his past and pushed into the future, all accompanied by a deadpan storytelling prowess and a voice like a Cajun Prince (as in "The Artist Formerly Known As"). Hardly!Criminal! is the sum of crash s best parts - the sonic celebration of his story so far. So, set down a spell, cool yer bones, cher... and listen

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